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Late Autumn (1960)
"Akibiyori" (original title)

 -  Drama  -  November 1973 (USA)
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A widow tries to marry off her daughter with the help of her late husband's three friends.



(novel), (screenplay), 1 more credit »
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Title: Late Autumn (1960)

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Cast overview, first billed only:
Akiko Miwa
Yôko Tsukasa ...
Ayako Miwa
Mariko Okada ...
Yukiko Sasaki
Keiji Sada ...
Shotaru Goto
Miyuki Kuwano ...
Shin'ichirô Mikami ...
Shin Saburi ...
Soichi Mamiya
Shukichi Miwa
Nobuo Nakamura ...
Shuzo Taguchi
Kuniko Miyake ...
Sadako Sawamura ...
Ryûji Kita ...
Seiichiro Hirayama
Fumio Watanabe ...
Tsuneo Sugiyama
Ayako Senno ...
Shigeko Takamatsu
Yuriko Tashiro ...


Family and friends of the late Shuzo Miwa have gathered for his annual memorial service, this one marking the seventh anniversary of his passing. Three of his long time friends - married Shuzo Taguchi, married Soichi Mamiya, and widowed Seiichiro Hirayama - have long known and admitted to each other that they have always been attracted to his widow, Akiko Miwa, who they believe has gotten even more beautiful as she has matured. The three friends take it upon themselves to find a husband for the Miwa's now twenty-four year old daughter, Ayako Miwa, who they believe as beautiful as her mother, and who, as a pure innocent, deserves a good husband. Their self-appointed task is despite them knowing that Ayako does not want them to do so. She doesn't want to get married, at least not yet, as she struggles with her traditional sensibilities in post-war modern Japan. Her first priority as she sees it is to take care of her widowed mother, who would be alone if she were to get married. The ... Written by Huggo

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friend | mother | widow | japan | sacrifice | See All (30) »




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Release Date:

November 1973 (USA)  »

Also Known As:

Late Autumn  »

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Aspect Ratio:

1.37 : 1
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User Reviews

Late-Period Ozu Reworks "Late Spring" by Focusing on a Mother-Daughter Bonding
24 July 2007 | by (San Francisco, CA, USA) – See all my reviews

Even though the comparison is obviously intentional, Yasujiro Ozu's 1960 film is really a variation on his classic 1949 father-daughter drama, "Late Spring". He goes further with this parallel by having the wondrous Setsuko Hara, who played the daughter in the original film, play the mother in this one, even though only eleven years have elapsed. Gone is the alternately feisty, flirtatious and petulant manner that marked her earlier performance as Noriko, and in its place is that remarkable stillness and quiet warmth in her portrayal of Akiko that marked the best of Hara's later performances. She was barely forty during filming, yet she carries the gravitas of her role with uncommon ease. What remains consistent between her two performances is the unearthly devotion which ties the characters intractably to the world in which they have grown accustomed.

Ozu wrote the quietly perceptive script with longtime collaborator Kogo Noda, and the filmmaker's trademark touches - the narrative ellipses, the lack of melodrama, the low camera angles - are all here in their emotionally resonant glory. This time, the character of Akiko has such an easy sisterly bond with her daughter Ayako that neither has an interest in dating or marriage. While Akiko's situation is more or less accepted by society, Ayako's single status is a point of consternation, especially for three friends of Akiko's late husband, all of whom express feelings of unrequited love for the unavailable Akiko. They are jointly intent on finding Ayako a suitable husband and find one in Goto, a young, well-mannered bachelor with a suitable career. Akiko, however, demurs at the possibility of matrimony which leads the story through its inevitable paces.

Yôko Tsukasa is pretty and affecting as Ayako, though honestly no match for the younger Hara in the earlier film. More of that uninhibited spirit is present in Mariko Okada, who plays Ayako's friend and colleague Yuriko. She has a terrifically abrasive and amusing confrontation with the trio of embarrassed matchmakers, and the result comes across as a bit of an imbalance to the viewer now since Yuriko's Westernized independence is more compelling than Ayako's more innate diffidence. Adding more to the comedic aspects of the story, Shin Saburi, Nabuo Nakamura and Ryuji Kita play the matchmaking trio almost like a Shakespearean comedy troupe. Interestingly, Ozu uses a decidedly Italianate-sounding score to underscore the action, a nice unpredictable touch. This well-preserved film is not as essential as "Late Spring", but it is a worthy addition to Ozu's filmography.

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